DOCUMENTING TRADITIONAL KNOWLEDGE

2
 Table of Contents
Chapter 1 ................................................................................................................................... 4
Introduction ....................................................................................................................................... 4
What is Traditional Knowledge?..................................................................................................... 6
Definition by WIPO ..................................................................................................................................... 6
Definition by UNESCO ............................................................................................................................... 7
Difference between Traditional Knowledge, Indigenous Knowledge and Traditional Cultural
Expression .................................................................................................................................................... 8
Why traditional Knowledge should be protected? ...................................................................... 10
What does WTO say? ..................................................................................................................... 10
Limitations of the current IPR system .......................................................................................... 14
Call for Sui Generis Protection ...................................................................................................... 14
Chapter 2 ................................................................................................................................. 15
India’s Perspective .......................................................................................................................... 15
What government of India has done on documenting TK? ........................................................ 15
Traditional Knowledge Digital Library................................................................................................... 16
Geographical Indications (GI Tags)......................................................................................................... 17
Limitations of GI Tags .............................................................................................................................. 18
What has Kerala done? ............................................................................................................................. 18
Odisha’s Initiative...................................................................................................................................... 19

Chapter 3 ................................................................................................................................. 20
Documenting Folk and Tribal Paintings ...................................................................................... 20
Madhubani Painting ................................................................................................................................. 21
Kalamkari Paintings .................................................................................................................................. 25
Sanjhi Paintings ......................................................................................................................................... 28
Gond Paintings ........................................................................................................................................... 30
Warli Paintings .......................................................................................................................................... 32
Need for Documentation................................................................................................................. 35
Initiatives by the Ministry of Culture ........................................................................................... 35
Chapter 4 ................................................................................................................................. 38
Conclusion ....................................................................................................................................... 38
Works Cited ............................................................................................................................. 40
Annexure 1: List of Folk art ................................................................................................... 41
Annexure 2: Image Source ..................................................................................................... 43

3
 Chapter 1

“whenever an old man dies, it’s a library burning down”

― Amadou Hampâté Bâ
(Malian writer, historian and ethnologist)

Introduction

Ideas and inventions have been passed down from generation to generation within many
communities since time immemorial. Today's practice can be defined as a collective
understanding of all inventions and developments that occurred over time and were then passed
down as Traditional Knowledge (TK).

Long before the development of modern science, which is quite young, indigenous people have
developed their ways of knowing how to survive and also ideas about meanings, purposes and
values. It has become customary to refer to this kind of knowledge as “indigenous knowledge”
or “traditional knowledge”. 1

What makes knowledge “traditional” is not its antiquity: much TK is not ancient or inert but is
a vital, dynamic part of the contemporary lives of many communities today.2 TK is being
created every day and evolves as individuals and communities respond to the challenges posed
by their social environment.3

Vidyāṁ Dadāti Vinayaṁ Vinayād Yāti Pātratāṁ.

Pātratvāt Dhanamāpnoti Dhanāt Dharmāṁ Tataḥ Sukhaṁ.

Knowledge gives humility, from humility, one attains character; from character, one acquires
wealth; from wealth, good deeds (righteousness) follow and then happiness.

1
(Magga, 2005)
2
(WIPO, Intellectual Property and Traditional Knowledge)
3
https://www.wipo.int/edocs/pubdocs/en/tk/920/wipo_pub_920.pdf
4
This ancient Sanskrit proverb emphasises the importance and power of knowledge. It also
emphasises the importance of safeguarding TK.

Traditionally, knowledge has been constituted, stored and maintained in the framework of the
oral culture. TK is crucial to a community's integrity. These knowledge systems are vital to
people's livelihoods. However, the proceeds from these inventions rarely make their way back
to the communities that created them. It is important to encourage indigenous peoples' right to
preserve and protect their TK.

A major cause of TK loss is a lack of recordkeeping. TK documentation is a process in which

TK is identified, collected, structured, registered, or recorded in some manner as a means of
dynamically maintaining, managing, using, disseminating, and/or protecting TK for defined
purposes. There are concerns that if documentation makes TK more generally available to the
general public, particularly if it is accessible via the Internet, it may lead to misappropriation
and use in ways that its holders did not foresee or intend.

Protection should principally benefit the holders of the knowledge, in particular, indigenous
and traditional communities and peoples that develop, maintain, and identify culturally with
TK and seek to pass it on to future generations, as well as recognised individuals within these
communities and peoples.

In recent years, indigenous peoples, local communities, and governments—mainly in

developing countries—have demanded Intellectual property (IP) protection for traditional
forms of creativity and innovation, which, under the conventional IP system, are generally
regarded as being in the public domain, and thus free for anyone to use. Indigenous peoples,
local communities and many countries reject a “public domain” status of TK and TCEs and
argue that this opens them up to unwanted misappropriation and misuse. 4

TK is addressed in the following international forums:

• The International Labor Organization (ILO)
• The United Nations Commission on Human Rights and the United Nations Permanent
Forum on Indigenous Issues
• The World Intellectual Property Organization (WIPO)
• The United Nations Educational, Scientific, Cultural Organization (UNESCO)
• The World Trade Organization(WTO)
• The United Nations Conference on Trade and Development (UNCTAD) etc.

Among various International Organizations and forums, the World Intellectual Property
Organization (WIPO) has made remarkable contributions to protecting Traditional Knowledge
and Traditional Cultural Expressions.

4
(WIPO, Intellectual Property and Genetic Resources, Traditional Knowledge and Traditional Cultural
Expressions, 2020)
5
What is Traditional Knowledge?

Traditional Knowledge has been defined by various international organizations.

Definition by WIPO

According to WIPO, “Traditional knowledge (TK) is knowledge, know-how, skills and

practices that are developed, sustained and passed on from generation to generation within a
community, often forming part of its cultural or spiritual identity”.5 WIPO currently uses the
term “traditional knowledge” to refer to tradition-based literary, artistic or scientific works;
performances; inventions; scientific discoveries; designs; marks, names and symbols;
undisclosed information; and all other tradition-based innovations and creations resulting from
intellectual activity in the industrial, scientific, literary or artistic fields.

Categories of traditional knowledge could include but are not limited to: agricultural
knowledge; scientific knowledge; technical knowledge; ecological knowledge; medicinal
knowledge, including related medicines and remedies; biodiversity-related knowledge;
“Traditional cultural expression” in the form of music, dance, song, handicrafts, designs, stories
and artwork; elements of languages, such as names, geographical indications and symbols; and,
movable cultural properties.

Given the highly diverse and dynamic nature of TK, it may not be possible to develop a singular
and exclusive definition of the term. For some concepts, the term applied by holders of
traditional knowledge in their native language has no correspondence in other languages,
because of the unique development of the concept in that tradition.6 Though there is not yet an
accepted definition of TK at the international level.7

TK can be defined in two ways:8

• In a general sense: it embraces the content of knowledge itself as traditional cultural
expressions, including distinctive signs and symbols associated with Traditional
knowledge.
• In a narrow sense: it refers to knowledge resulting from intellectual activity in a
traditional context and includes know-how, practices, skills and innovations.

In conjunction with stakeholders, there is a need to examine IP laws to remove anomalies and
inconsistencies and update them. Traditional knowledge rights simply do not satisfy the
fundamental justification for giving property rights in intangibles such as inventions and
expressive works. Intellectual property is intended to promote creativity and innovation. Most

5
Ibid
6
https://www.wipo.int/edocs/pubdocs/en/tk/768/wipo_pub_768.pdf
7
https://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_38/wipo_grtkf_ic_38_6.pdf
8
https://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_22/wipo_grtkf_ic_22_inf_8.pdf
6
TK, on the other hand, is not inventive in the same way that inventions and works that qualify
for patents and copyrights are.

WIPO is primarily concerned with protection in the IP sense – that is, protection against
unauthorized copying, adaptation and use of TK and TCEs by third parties. Two types of IP
protection being sought are:

1. Defensive protection aims to stop people outside the community from acquiring
intellectual property rights over traditional knowledge. India, for example, has
compiled a searchable database of traditional medicine (Traditional Knowledge Digital
Library) that can be used as evidence of prior art by patent examiners when assessing
patent applications. Defensive strategies might also be used to protect sacred cultural
manifestations, such as sacred symbols or words from being registered as trademarks.9

2. Positive protection is granting of rights that empower communities to promote their

traditional knowledge, control its uses and benefit from its commercial exploitation.
Some uses of traditional knowledge can be protected through the existing intellectual
property system, and several countries have also developed specific legislation.10 It
involves the enactment of specific rules and regulations and laws, as well as access to
benefit-sharing provisions, royalty payments, etc.

The current intellectual property system, for the most part, ignores so-called "traditional
knowledge." The intellectual property system, which is based on western conceptions of
individuality, focuses almost entirely on discrete new information produced by a specific
author or creator. However, much essential knowledge does not fit this mould. Much of human
knowledge - from folk music to technical know-how about the medicinal properties of a certain
plant - is the result of collaborative rather than individual effort. Such knowledge is not discrete
and static, but rather evolves in response to a group's or culture's specific demands. Due to
these characteristics and others, such traditional knowledge does not fit well within the current
paradigm and accordingly tends to be overlooked in discussions of intellectual property.11

Definition by UNESCO

UNESCO broadly defines TK under Article 8(j): Traditional knowledge and the convention on
biological diversity.12 According to UNESCO, “Traditional Knowledge refers to the
knowledge, innovations and practices of indigenous and local communities embodying
traditional lifestyles relevant for the conservation and sustainable use of biodiversity.”

9
https://www.wipo.int/pressroom/en/briefs/tk_ip.html
10
Ibid
11
(Cross, 2010)
12
Article 8(j) states that “Subject to its national legislation, respect, preserve and maintain knowledge, innovations
and practices of indigenous and local communities embodying traditional lifestyles relevant for the conservation
and sustainable use of biological diversity and promote their wider application with the approval and involvement
of the holders of such knowledge, innovations and practices and encourage the equitable sharing of the benefits
arising from the utilization of such knowledge, innovations and practices”
7
It tends to be collectively owned and takes the form of stories, songs, folklore, proverbs,
cultural values, beliefs, rituals, community laws, the local language, and agricultural practices,
including the development of plant species and animal breeds. Sometimes it is referred to as
an oral tradition for it is practised, sung, danced, painted, carved, chanted and performed
through millennia. TK is mainly practical, particularly in such fields as agriculture, fisheries,
health, horticulture, forestry and environmental management in general.13

The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage 2003
defines “intangible cultural heritage” as the practices, representations, expressions, knowledge,
skill and ls – as well as the instruments, objects, artefacts and cultural spaces associated
therewith – that communities, groups and, in some cases, individuals recognize as part of their
cultural heritage. This intangible cultural heritage, transmitted from generation to generation,
is constantly recreated by communities and groups in response to their environment, their
interaction with nature and their history, and provides them with a sense of identity and
continuity, thus promoting respect for cultural diversity and human creativity.14

Article 4(3) of the UNESCO Convention on the Protection and Promotion of the Diversity of
Cultural Expressions defines cultural expression as “Cultural content”. It refers to the symbolic
meaning, artistic dimension and cultural values that originate from or express cultural
identities.15

Difference between Traditional Knowledge, Indigenous Knowledge and

Traditional Cultural Expression

Heritage

Traditional Knowledge

Traditional Indigenous
Cultural Knowledge
Expressions

16
Figure 1

13
https://www.cbd.int/traditional/
14
http://portal.unesco.org/en/ev.php-URL_ID=17716&URL_DO=DO_TOPIC&URL_SECTION=201.html
15
https://en.unesco.org/creativity/sites/creativity/files/passeport-convention2005-web2.pdf
16
Source: https://www.wipo.int/edocs/pubdocs/en/tk/768/wipo_pub_768.pdf
8
WIPO’s focus is on “traditional knowledge” as described above. TK is created, originated,
developed and practised by “traditional knowledge holders”. “Traditional Cultural Expression”
(TCE) are a subset of “TK”. TCE also called "expressions of folklore", may include music,
dance, art, designs, names, signs and symbols, performances, ceremonies, architectural forms,
handicrafts and narratives, or many other artistic or cultural expressions.17 “TK” is, in turn, a
subset of the broader concept of “heritage”.

“Indigenous knowledge”, being the traditional knowledge of “indigenous peoples”, is also a

subset of “TK”. As some “TCE” is created by indigenous persons, there is an overlap between
“TCE” and “indigenous knowledge”.

Not all TK is part of indigenous knowledge, but all of the indigenous knowledge is a subset of
TK. This is because traditional knowledge may have been created by any individual or group
of humankind whether indigenous peoples or not. That is to say, indigenous knowledge is
traditional knowledge, but not all traditional knowledge is indigenous knowledge. The
distinction between traditional knowledge and indigenous knowledge relates to the holders
rather than the knowledge per se. Stakeholders of traditional knowledge are either indigenous
peoples or local communities.18
Examples of Traditional Knowledge:

• Thai traditional healers use plao-noi to treat ulcers19

• Traditionally, the management of water resources in West Sumatera is based on
Minangkabau customs, such as the Paraku irrigation system20
• Bregenzerwälder Bergkäse is a traditionally produced Austrian hard cheese.21
• Taanka is a traditional rainwater harvesting technique indigenous to the Thar desert
region of Rajasthan.
• Yoga, a group of physical, mental, and spiritual practices originated in India and its
origins can be traced to northern India over 5,000 years ago.

Image 1*: Bregenzerwälder Bergkäse Image 2: Taanka Image 3: Yoga

17
https://www.wipo.int/tk/en/folklore/#:~:text=Traditional%20cultural%20expressions%20(TCEs)%2C,other%2
0artistic%20or%20cultural%20expressions.
18
http://thailawforum.com/articles/IP-Traditional-Knowledge-Part1-5.html
19
https://www.wipo.int/edocs/pubdocs/en/tk/920/wipo_pub_920.pdf
20
https://iopscience.iop.org/article/10.1088/1755-1315/1059/1/012036/pdf
21
https://www.iddri.org/sites/default/files/import/publications/id_0602_kiene_tkeurop.pdf
*Sources of all images are. mentioned in the Annexure 2
9
Why traditional Knowledge should be protected?

The existing international system for intellectual property protection was conceived during the
Western industrialization era and developed in response to the perceived needs of
technologically advanced societies.

These modern IP tools were developed as a means to provide a temporary monopoly to an

inventor or creator as an incentive by rewarding their innovative and creative outputs. The
notion that IP is a system to ‘protect’ intellectual or creative endeavour is thus a metaphor for
the ability to prevent others from acts of misappropriation and to enable the owner of the subject
matter to exclusively benefit from that invention or creation for a fixed term.22
Indigenous people, local groups and governments, primarily in developing nations, have
recently demanded equal protection for traditional knowledge systems.

TK, in most cases, is passed down orally from one generation to the next. Without written
material, it becomes difficult to trace the origin of the knowledge system.

Most IPs, including patents and copyrights, are granted for a period of time, say 10 years or 20
years. In the case of TK, the period of protection is a bone of contention. How long can
traditional knowledge systems be protected, especially since the knowledge systems are
themselves evolving, is a question. There are no specific laws to protect traditional knowledge
systems. Some parts and sections of existing laws can be used to protect the rights of the
communities.

What does WTO say?

TK, TCEs and Genetic Resources (GRs)23 have been raised in the context of the World Trade
Organization (WTO) Agreement on Trade-Related Aspects of Intellectual Property Rights
(TRIPS). While the TRIPS Agreement has no specific provisions on the issue of TK, the Doha
Declaration, in 2001, instructed the TRIPS Council to examine the protection of TK and TCEs.
Furthermore, discussions on the relationship between the TRIPS Agreement and the CBD are
taking place within the TRIPS Council since the built-in review of Article 27.3 (b)24 in 1999.25

A concern that has been expressed in the discussions in the Council for TRIPS is about the
grant of patents or other IPRs covering traditional knowledge to persons other than the
indigenous peoples or communities who have originated the knowledge and legitimately

22
https://unctad.org/system/files/official-document/diaepcb2014d3_ch5_en.pdf
23
GRs as defined by CBD are parts of biological materials that contain genetic information of value and are
capable of reproducing or being reproduced.
24
Article 27.3(b)) allows governments to exclude some kinds of inventions from patenting, i.e. plants,
animals and “essentially” biological processes (but micro-organisms, and non-biological and
microbiological processes have to be eligible for patents).
25
(WIPO, Intellectual Property and Genetic Resources, Traditional Knowledge and Traditional Cultural
Expressions, 2020)
10
control it. Several patents have been cited as examples, including regards to turmeric, neem26
and ayahuasca vine.27

Had this TK been available to patent authorities, particularly examiners, during the review of
patent applications, it could have been regarded as prior art, effectively defeating the claims
that the invention was novel and entailed an inventive step. This would have aided in preventing
"biopiracy."

Prior art or the state of the art typically refers to the entire body of information that is available
to the public before the filing of a patent application or, if a priority date is claimed, before that
priority date.

In simple terms, the problem with the prior art and TK could be that, while indigenous peoples
hold and use TK, and there are publications, databases, journals, periodicals, and other means
through which TK is disseminated and made public, TK has rarely been recognised and
considered as forming part of the state of the art for the patent system in general. Patent
examiners have rarely conducted comprehensive searches and evaluations of traditional
knowledge sources.

Since TK is often a combination of elements such as the cultivation of genetic resources, use
of TK, ritual chants and ritual dress, protection can be most effective by using a combination
of intellectual property and other laws.28 Under the existing system, traditional artists and
creators have legal rights through which they can exclude unauthorized use by others and
obtain financial benefits for their efforts, including in the international market.29

TABLE 1: Instruments to Protect TK Under Existing IPRs 30

Applicable IP instrument Currently Applicable IPR Conditions Limitations and Problems:

Industrial property

TRADE SECRET • needs to be of commercial value • from an IPR perspective

• knowledge needs to be kept Þ The commercial value must
confidential be demonstrated in order to
• no time limit for protection receive protection;
protection could be easily
breached if another group
that uses the procedure
makes it public.
• from a TK perspective

26
India, IP/C/W/198, IP/C/M/48, paras. 57-59.
27
Brazil, IP/C/W/228.
28
United Status, IP/C/M/37/Add.1, para. 250.
29
(WTO, 2006)
30
https://unctad.org/system/files/official-document/diaepcb2014d3_ch5_en.pdf

11
 Þ To keep it a secret, effective
measures must be taken.
Knowledge that is
specialised or communal is
not always kept secret.

PATENT • the invention must be new, • from an IPR perspective

inventive, and applicable to Þ These criteria may only
industry. apply to secret TK, but they
• the invention must be based on do not apply to the more
previously unknown information common forms of TK,
• protection for 20 years from the which are widely distributed
date of application and, in many cases, already
documented.
Þ the holder of the TK often is
not the inventor
Þ If new elements are added to
the TK, the inventive step
may be too small or
encounter other technical
difficulties.
• from a TK perspective
Þ TK needs to be made public
in the application
Þ limited temporal protection
Þ After the term of protection
expires, the invention's
knowledge enters the public
domain.
Þ Difficulties in granting
larger communities
protection title.

UTILITY MODEL • Need for novelty and utility, but not • from an IPR perspective
necessarily inventive step Þ no specific limitations
• Protection varies by jurisdiction;
generally, it lasts 10 years from the • from a TK perspective
date of application or less. Þ Functional features in some
TK may only be useful as a
ceremonial element.
Þ TK as such is not protected
Þ Limited temporal
protection

INDUSTRIAL DESIGN • Does not have to be new, but it • from an IPR perspective
must have new aesthetic features Þ no specific limitations
• Protection spans over 15 years • from a TK perspective
Þ Functional features in some
TK may only be useful as a
ceremonial element.
Þ TK as such is not protected
12
 Þ limited temporal protection

• Must meet trademark requirements; • from an IPR perspective

must be a sign capable of being Þ Some marks are already well
represented graphically, capable of known
distinguishing goods or services of Þ Must be in line with the
one undertaking from those of current system of
another. classification of goods or
TRADEMARK AND GIs
• Potentially perpetual if used services
• from a TK perspective
Þ TK as such is not protected
Þ Issues in managing GI or
collective trademark
systems
Rights over plant varieties

• The plant's geno- and phenotype • from an IPR perspective

PLANT BREEDERS must be new, stable, distinct, and Þ TK is mostly associated with
RIGHTS consistent. the use of wild plants and
• Protection spans over 15 - 25 years landraces of cultivated
plants, which do not meet
these requirements in and of
themselves.
• from a TK perspective
Þ TK associated with the plant
as such is not protected
Þ limited temporal protection

Copyrights and related rights

COPYRIGHT • Religious texts and prayers must • from an IPR perspective

include original expressions of Þ the author cannot be
intellectual creations. determined in many cases
• A religious text or prayer must be
fixed, which necessitates the • from a TK perspective
incorporation of material objects Þ The value of protecting the
• As a performer, the shaman may be words of the prayer may be
granted the authority to fix the very small because it is an
performance. element of a ceremony
• No need to register as a prerequisite acting through many
for protection elements (symbolic values)
• Protection spans over 50 years Þ TK as such is not protected
Þ This only applies to
individual authors, not
groups.
Þ Limited time frame

Source: (UNCTAD)

13
Limitations of the current IPR system

• The current system tries to privatise ownership and is intended to be held by people or
businesses, whereas traditional knowledge is owned collectively.
• This protection is time-limited, whereas traditional knowledge is passed down from
generation to generation.
• It takes a narrow view of the invention, requiring it to meet the criteria of novelty and
industrial applicability, whereas traditional innovation is incremental, informal, and occurs
over time.

Call for Sui Generis Protection

Since IP protection has its drawbacks and flaws, there has been an increase in demand for Sui
Generis systems of protection for TK. Sui Generis is a Latin phrase that means "of its kind."

In the domain of intellectual property, the word is frequently used to refer to systems of
protecting intangible property, i.e., providing specific rights to individuals who have a genuine
claim to them in a way that goes beyond popularly accepted ideas of IP protection.

What makes an IP system a sui generis one is its features to adequately fit distinctive
characteristics and specialised policy needs.

Sui generis instrument shall provide a legal framework for the protection of TK, enforcement
of rights of indigenous communities, prevent misuse and control of TK, provisions of ABS
(access and benefit sharing) system etc. This has prompted several countries and regions to
develop their distinct sui generis (specific, special) systems for protecting TK/TCEs.

14
 Chapter 2
India’s Perspective

Traditional knowledge (TK) and Traditional Cultural Expressions (TCEs) express the cultural
identities of millions of Traditional and Indigenous Peoples worldwide. India has a diverse and
distinct culture that has evolved through thousands of years and varies by location. When we
think about knowledge tradition, the first term that comes to mind is 'Vedas.' India has always
been known for its knowledge tradition and culture. Ancient civilizations recognise India's
contribution to knowledge. For thousands of years, Indian traditional knowledge has been
available in many forms such as classical texts, manuscripts, and/or oral communication. When
we talk about knowledge, we are talking about language, philosophy, the inevitability of
knowing, folklore, and sculptures.

The intangible cultural legacy of India stems from its 5000-year-old civilization and
civilisation. Dr A.L. Basham highlighted in his book "Cultural History of India" that "While
there are four main cradles of civilisation which, moving from East to West, are China, India,
the Fertile Crescent and the Mediterranean, especially Greece and Italy, India deserves a larger
share of credit because she has deeply affected the cultural life of most of Asia. She has also
extended her influence, directly and indirectly, to other parts of the World.”

The Indian constitution grants its citizens the Fundamental Rights to equality, equal
opportunity, life, and personal liberty, as well as the freedom to preserve a separate language,
script, or culture. Article 29(1) says any section of the citizens residing in any part of India
having a distinct language, script or culture of its own has the right "to conserve the same."

Intellectual property rights and laws were formed in modern times and have subsequently kept
up with technological changes around the world. However, practically all countries,
particularly India, have a wealth of knowledge acquired by indigenous tribes and people. This
knowledge bank has been passed down through generations and has come to represent the
community's identity.

What government of India has done on documenting TK?

India, however, does not have any specific legislation for protecting Traditional Knowledge
and Traditional Cultural Expressions. But, the Patent Act, 1970, Plant Variety Protection and
Farmers Rights Act, 2001, Biological Diversity Act, 2002, The Geographical Indications of
Goods (Registration and Protection) Act, 1999, Copy Right Act, 1957, The Trade Marks Act,
1999, The Designs Act, 2000, etc. have some provisions that can be utilized for protecting
traditional knowledge.

15
One of the most important reasons to safeguard traditional knowledge is to avoid its
commercial exploitation. Between 2500 and 500 BC, India developed many concepts such as
Ayurveda, Siddha, and Unani, and as a result, India is the largest provider of such traditional
medicinal systems as well as medicinal plants. As a result, India's traditional knowledge of
diverse resources, such as the pharmaceutical system, is immense. Indeed, indigenous
communities and natives are deeply concerned about biopiracy. Many indigenous tribes have
relied on natural components such as spices and herbs for therapeutic purposes. Large
corporations utilize these practices without paying credit to the people who invented them.

There have been numerous instances when firms have been granted patents for India's legacy.
For example, India has had to fight multiple patents given to foreign firms for Neem, Turmeric,
and Basmati, all of which are unquestionably indigenous to India. As a result, it is critical to
both disseminate and protect such knowledge.

Bio-piracy cases:

Neem:

Neem has been used in India as a bio-insecticide and medicine for ages. In 1994 the European
Patent Office granted European Patent No. 0436257 to the US Corporation W.R. Grace and
USDA for a “method for controlling fungi on plants by the aid of hydrophobic extracted neem
oil”. The patent was revoked in 2000 on the ground that ‘neem’ has been used in India for
centuries.

Turmeric:

Since ancient times, turmeric has been used for its wound-healing properties. In 1995, two
Indian nationals at the University of Mississippi Medical Centre were granted US patent no.
5,401,504 on "use of turmeric in wound healing”.

The TKDL was a major and significant step made by the Indian government to withdraw and
retract the USPTO's patent on turmeric for its wound-healing properties and the EPO's patent
on neem for its anti-fungal properties.

Traditional Knowledge Digital Library

The Traditional Knowledge Digital Library (TKDL) is a pioneering initiative of India, under
the collaboration of the Council of Scientific and Industrial Research (CSIR) and the Ministry
of Ayush, to prevent exploitation and protect Indian traditional knowledge at Patent Offices
worldwide. The TKDL includes India’s rich traditional knowledge of medicine systems from
classical/ traditional books related to Ayurveda, Unani, Siddha and Sowa Rigpa as well as Yoga
practices. The information from the ancient texts of medicine and health existing in local
languages such as Sanskrit, Hindi, Arabic, Persian, Urdu, Tamil, Bhoti, etc. have been digitized
16
in five international languages, namely, English, French, German, Spanish and Japanese in the
TKDL database as prior art.31

A total of 418885 formulations including 119269 in Ayurveda, 236399 in Unani, 54689 in

Siddha, 4151 in Yoga and 4377 in Sowa Rigpa have been transcribed so far into the TKDL
database.

As per the extant Government of India approvals in place, access to the database is given to
patent offices worldwide that have signed non-disclosure access agreements with the CSIR.
Fourteen patent offices including the Indian Patent Office (Controller General of 2 Patents,
Designs & Trade Marks), European Patent Office, US Patent Office, Japanese Patent Office,
German Patent Office, Canadian Patent Office, Chile Patent Office, Australian Patent Office,
UK Patent Office, Malaysian Patent Office, Russian Patent Office, Peru Patent Office, Spanish
Patent & Trademark Office and Danish Patent & Trademark Office have been granted access
to the TKDL database.

The CSIR-TKDL Unit also files third-party observations and pre-grant oppositions on patent
applications related to Indian traditional knowledge based on the TKDL evidence.

India is the only country in the world that has built an institutional framework to protect its
traditional knowledge (TKDL). The TKDL enables the swift and almost free cancellation or
withdrawal of patent applications about Indian TK.

To date, the TKDL has permitted the revocation or withdrawal of a significant number of patent
applications asserting rights to the use of various therapeutic plants. In India, the TKDL is a
one-of-a-kind tool that plays an important role in preserving the country's traditional
knowledge.

Geographical Indications (GI Tags)

A GI tag is a type of intellectual property, a certification granted to specific items or products

from a specific area, state, or country that are unique to that geographical region.

The Geographical Indications of Goods (Registration and Protection) Act, 1999 was adopted
by India as a member of the World Trade Organization (WTO). GI tag in India is given by the
Geographical Indication Registry under the Department of Industry Promotion and Internal
Trade, Ministry of Commerce and Industry.

The protection is granted to the undertakings and establishments located in that particular area
and may use the 'geographical indication' on the exclusive goods produced in such area. This

31
Prior art constitutes all information made available to the public in any form before a given date that might be relevant to a patent’s claim
of novelty and inventiveness. If an invention has been described in prior art, a patent on that invention is not valid.

17
enables GI owners to take fast action in the event of a prospective or actual infringement of a
registered Geographical Indication. GI products include agricultural, natural or manufactured
goods, foodstuffs and handicrafts. Darjeeling Tea was the first Indian product to get a GI tag
in 2004-05.

Few examples of GI tags:

• Darjeeling Tea, Santipuri Saree, Madhur Kathi Mats, Joynagar Moa etc. from West
Bengal
• Saffron, Pashmina Shawl, Walnut Wood Carving etc. from Kashmir
• Srikalahasthi Kalamkari, Leather Puppetry, Etikoppaka Toys etc. from Andhra
Pradesh.
• Kullu Shawl, Kangra Tea, Kala Zeera etc. from Himachal Pradesh

Image 4: Santipuri Saree Image 5: Walnut Wood Carvings Image 6: Etikoppaka Toys Image 7: Kullu Shawl

Limitations of GI Tags

Getting the GI tag in India is indeed a long process. There is a need for clear, authentic
evidence. As a subject of discussion, this undesirable competition tends to divide the nation
along territorial, social, and Etymological lines. Most states have dismissed investigations.
There is also a rush to expand the approval of more items with a GI tag in their surge to capture
as numerous as possible. As a result, the concept of GI security for local endemic items has
been called into question.

What has Kerala done?

Kerala, the southernmost tip of the Indian sub-continent is considered the homeland of the most
diverse and richest traditional knowledge systems because of its unique cultural expressions
which are directly or indirectly connected with the environment, ecology, biodiversity, etc.,
ranging from coastal, and plains to mountainous regions.

The diversity that occurs in the flora and fauna has played a major role in evolving a unique
Classical Health Tradition (CHT) and Oral Health Tradition (OHT) in Kerala. Since time
immemorial, traditional Vaidyas (Physicians) of Kerala have been utilizing location specific
edible/medicinal plants.
18
The Kerala government however goes one step further and “offensively” attempts to create
property interests around this knowledge, as would enable an active leveraging and use of this
knowledge by communities within Kerala.

The major issue of the Kerala IPR Policy 2008 is the protection of traditional knowledge and
biodiversity associated with such knowledge. The state proposes to commit all traditional
knowledge, including traditional medicines, the practice of which sustains the livelihoods of
many, to the realm of “Knowledge Commons” and not to the “Public Domain”. While
community or family custodians will have rights to knowledge that belonged to them, the rest
of the traditional knowledge will belong to Kerala State. No entity registered as a medium or
large enterprise may be deemed to have any rights over traditional knowledge. Any community
or family custodian of traditional knowledge would have to register as a knowledgeable
practitioner with the Kerala Traditional Knowledge Authority proposed by the policy.

The primary goal of the IPR Policy is to foster an environment that acknowledges and promotes
creativity and innovation, as well as to provide the financial and technical resources needed to
translate these into goods, processes, and services for societal benefit.

Odisha’s Initiative

Odisha has come up with an encyclopedia on tribes documenting their age-old and unique
traditions before they get entirely vanished from circulation.

The 3,800-page book has five edited volumes of ‘Encyclopedia of Tribes in Odisha’, published
by Scheduled Castes and Scheduled Tribes Research and Training Institute and Odisha State
Tribal Museum, with 418 research articles on tribals, including 13 vulnerable groups.
Besides, papers contributed by its research personnel, the articles of other research scholars
and eminent anthropologists on different aspects of the tribes and other states have also found
a place in the encyclopedia.

19
 Chapter 3

Documenting Folk and Tribal Paintings

India is a country with a rich and diverse cultural legacy. It has a mosaic of tribal and folk arts.
The Indian way of life is rich in rituals, customs, beliefs, and a diverse group of gods and
goddesses.

Art is a way to communicate emotions and feelings. Indian folk arts are a representation of
Indian culture. The term ‘Folk’ means people of a community or group. Folk art refers to the
artwork of people that is often an expression of community life. Ancient humans painted on
cave walls, carved bone sculptures, and danced around the fire.

Folk Paintings are distinguished by subjects drawn from epics such as the Ramayana and
Mahabharata, as well as the Bhagavata Purana and daily village life, birds and animals, and
natural objects such as the sun, moon, plants, and trees. Each painting reflects a region's
aesthetic, cultural, and spiritual sensibilities.

The richness of India's civilization is reflected in these paintings, which represent the latent
artistic talent of ordinary people who have received no formal training in this discipline. Folk
arts are artistic traditions that developed in a particular context and were passed down through
generations.

In India, the Chitra Katha tradition (pictorial rendering) played an important role in spreading
the epics—the Ramayana, the Mahabharata, and other Hindu shastras—by transferring
paintings from temple walls to the walls of common people's homes. Different regions of India
developed such art in their unique way to spread messages. Madhubani paintings from Bihar,
Patua scroll paintings from West Bengal, Phad paintings from Rajasthan, Patachitras from
Odisha, Mata-Ni-Pachedi from Gujarat, and Nathadwara Picchvai paintings are some
examples.

The pre-modern world was full of colours. Artists used to extract colours from natural sources
like vegetables, fruits, flowers and stones. These ancient forms of art have evolved over the
years. Natural pigments and dyes have given way to acrylic paints and inks, and traditional
paintings, which were previously used to decorate the walls of homes, are now depicted on
canvas.

In the next section, five paintings have been discussed namely, Madhubani from Bihar;
Kalamkari from Andhra Pradesh; Sanjhi from Mathura, Uttar Pradesh; Gond from Madhya
Pradesh and Warli from Maharashtra.

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 Madhubani Painting

Image 8: Madhubani Painting

Madhubani Painting, also known as Mithila Folk art is the traditional art from Mithila also
known as Mithilanchal, Bihar. Jitwarpur village of Madhubani district is the main centre.
Madhubani paintings are made with twigs, brushes, and nib-pens, and depict traditional stories
about Ganesha, Lakshmi, Sita's exile, and many other Hindu mythological characters.

The paintings are conceptual in nature and depict events such as weddings, court scenes, social
gatherings, and so on. The origins of this art form can be traced back to the epic of Ramayana,
where Tulsidas depicts Mithilanchal being decorated with Mithila painting at Sita's wedding to
Ram.

Lines, colours, and geometrical figures are all used extensively in Madhubani paintings, and
there are no gaps in the paintings. Animal & bird motifs and flora are used to fill up any gaps
in the paintings. When there are special events in the village or family, Madhubani paintings
are drawn on the plastered walls of huts or households, according to an age-old tradition.

Some of the paintings are based on the following themes: Dashavatar i.e ten incarnations of
Vishnu -Matsya, Kurma, Varaha, Narsimha, Vaman, Parshuram, Rama, Balarama, Buddha and
Kalki; Dasmahavidya- ten incarnations of Goddesses; Solah Sanskara for women and Solali
Sanskara for men; Krishna Leela\ Ram Leela; episodes from Mahabharata and Ramayana etc.
(Gupta & Gyan, 2018)

Madhubani paintings are classified into five styles:

a) Godna, b) Bharni, c) Katchni, d) Tantrik, and e) Kohbar.

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 Godna Painting Style

This is the most basic style of Madhubani painting when

compared to others. Chano Devi pioneered this painting style,
which is similar to tattooing. The colours used were all natural,
and the majority of the paintings depicted Hindu Gods and tree
life. Concentric circles of flowers, fields, and animals are
common in this style.

Image 9: Godna Style

Bharani Painting Style

It is the most important painting style in Madhubani art. The

paintings in this style are vibrantly coloured. The themes were
primarily inspired by Hindu epics such as the Ramayana and
the Mahabharata. Blue, yellow, and pink are the most
commonly used colours. Typically, the outline is done in
black. Sita Devi, a Mahapatra woman Brahmin was a
forerunner of the Baharani colour painting style. Typically,
women of the Brahmin caste contributed the most to this style
of painting.

Image 10: Bharani Style

Kachni Painting Style

In this style, only one or two colours are used in the painting.
Kachni style placed a greater emphasis on intricate lines and
muted colours.

Image 11: Kachni Style

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 Tantrik Painting style

The theme of this Madhubani painting style was based on

religious characters from the texts. There were paintings of
Maha Kali, Maha Durga, Maha Saraswati, and Maha Ganesha.

Image 12: Tantrik Style

Kohbar Painting Style

Kohbar painting has traditionally been done in the Maithil

culture to bless a newlywed couple. This painting primarily
depicts Hindu wedding ceremonies. The kohabara ghar — a
room prepared for a groom where he stays at his in-laws place
after the wedding. This painting depicts the six lotus flowers
encircling a single bamboo stem. These are fertility symbols.

Image 13: Kohbar Style

These paintings were traditionally created by Brahmin women. Brahmins had a distinct style
that included a lot of bright colours. The colours were all organic, the red colour was extracted
from the Sindoor plant in the backyard, the green colour from the leaves, burnt jawar or kajal
was used for black; turmeric or chuna mixed with milk from banyan tree for yellow; pailash
flower for orange; bilva leaf for green and the rice paste for white.

These paintings started from the floor with a lot of tantric symbols and the knowledge was
handed down from generation to generation. The knowledge continued and took the form of
more decorative scenes from mythology – Ramayana and Krishan Leela etc.

Later it reached the Kayastha community, who used to work as munim (bookkeeper) in the
zamindar’s house. Because of the social interaction between Brahmins and Kayasthas, they got
a peek into Brahmin households and learnt it. They did the fine line drawing and enclosure of
individual scenes.

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Then the painting travelled to the lower caste who painted on the mud walls of their house
which included hunting scenes, nude figures, and the tale of their own lives.

Jitwarpur village in north Bihar would have remained unknown to the world had then-Prime
Minister Indira Gandhi's friend Pupul Jayakar not asked All India Handicrafts Board chief
designer Bhaskar Kulkarni to visit Madhubani in 1966.

Earlier mostly women practised it. Male practitioners came in 1965 – the year of great famine.
Bhaskar Kulkarni went door to door to find out if they were continuing to do it and was is as a
method of survival for them.

It was at that time women came out and said they are practising it but not making earnings out
of it. So they were given papers and then the paintings were collected and sold. Women and
girls were taught to paint and later paintings became commercial art. Art then started expanding
beyond mythology and tantric art. People started painting on topical issues from female
foeticide to covid.

These paintings have also gained international acclaim, with a Madhubani museum in Japan.
Nowadays, the affluent class creates Madhubani paintings, though the 'core' values behind the
paintings have remained intact.

Madhubani painting has received GI status in 2007. Some of the important artists of this
wonderful art include Mahasundari Devi who was awarded Padma Shri by the President of
India in 2011 for her paramount contribution to promoting the Madhubani art form, Jagdamba
Devi from Bhajparaul, Madhubani was given Padma Shri in 1975 and the National Award to
Sita Devi was a legendary Madhubani artist from Jitwarpur village who bagged Padma Shri in
1981 and Godavari Dutta is internationally-acclaimed. Her artworks are displayed in Mithila
Museum in Tokamachi in Japan.

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 Kalamkari Paintings

Image 14: Kalamkari Painting

The literal meaning of Kalamkari is "painting made by the use of pen" (Kalam - pen & Kari –
work). It is very popular in two districts of Andhra Pradesh, namely, Machilipatnam (or
Masulipatanam) and Srikalahasti of Chittoor district. It is a type of hand-painted or block-
printed cotton textile produced in parts of India.

Originally, this style was used to depict scenes from sacred texts such as the Mahabharata,
Ramayana, and Bhagavatam. These paintings depicting deity stories were frequently used as
decorative backdrops in temples.

This vibrant art form dates back to more than 3000 B.C. Folk singers and painters used to travel
from village to village, telling Hindu mythology stories to the villagers. However, over time,
the process of telling stories evolved into canvas painting. It was during the Mughal era that
this painting style gained popularity.

Kalamkari is a 23-step process that uses only natural dyes. The cloth is first steeped in a mixture
of buffalo milk and astringents to create Kalamkari. This is then dried in the sun. The colours
red, black, brown, and purple are then outlined with a mordant before being applied to the
cloth.

The black dye is made by soaking iron pieces in a solution of jaggery and water in a mud pot;
a yellowish-coloured dye is obtained by mixing Myrobalam flowers with boiling water in an
earthen or metal pot; alum or Phitkari is used on a Myrobalam-treated cloth for developing dull
red colour and the blue colour is made by using colours obtained from the indigo plant.

Artists use a pen made by attaching fine hair to the pointed end of a bamboo or date palm to
create contours for their designs. This is then soaked in a jaggery-water mixture.
25
There are two distinct styles of Kalamkari art in India: the Srikalahasti style and the
Machilipatnam style.

Srikalahasti Kalamkari

Srikalahasti happened to be the main centre

of this art due to the constant supply of clean
and fresh river water. This style of kalamkari
derives its inspiration from the Hindu
mythological stories, epics and folklore. This
style grasps a robust religious link due to its
origin in the temples. The most prominent
characteristic of the Srikalahasti style of
kalamkari art is the free-hand drawing.
Image 15: Sriikalahasti Kalamkari

Machilipatnam Kalamkari

This style of kalamkari differs from the

formerly mentioned style because it is not
exactly crafting with pen, per se. While
making kalamkari art using this
Machilipatnam style, the artist creates the
draft and its basic design features with the
aid of hand-carved blocks. These blocks,
once carved, can be used over and over again
for a long period of time.
Image 16: Machilipatnam Kalamkari

The Balija community of Kalahasti, located in the southern corner of Andhra Pradesh, was the
first to practise the tradition of Kalahasti Paintings. It had been practised since the 14th century
but had declined rapidly by the beginning of the twentieth century. So much so that by the
1950s, Jonnalagadda Lakshmaiah was the only painter in the community.32

Recently, two new categories of Kalamkari patterns have emerged, based on the states where
they are created. Andhra Pradesh and Gujarat are two primary Indian states where two evolved
and distinct styles of kalamkari are practised. While Gujarat draws inspiration from
mythological characters and epics, Andhra Pradesh depicts palaces and forts, which are popular
destinations in the country.

32
https://www.indiaculture.nic.in/national-list-intangible-cultural-heritage-ich
26
Kalamkari of Gujarat also known as ‘Mata Ni Pachedi’. When the nomadic Vaghari
community of Gujarat, who worship Mata, were not allowed to enter temples, they made their
places of worship out of cloth illustrations of the Mother Goddess (Mata).

This art form was the family occupation of many rural women and craftsmen in the olden times.
It is passed down from generation to generation as a tradition. Andhra Pradesh is still the
country's primary centre for Kalamkari painting

Image 17: Mata Ni Pachedi

In 2008, Machilipatnam Kalamkari received the GI Tag. Karuppur kalamkari paintings and
Kallakurichi wood carvings in Tamil Nadu recently received geographical indication (GI) tags.
Both of these art forms are of the traditional variety. While the paintings are intricately created
on cotton cloth with pens or brushes made from bamboo tree and coconut tree stems, the wood
carving is primarily one in which the craftsmen specialise in carving temple-related items as
well as furniture using traditional designs.

27
 Sanjhi Paintings

Image 18: Sanjhi Art

Sanjhi Painting is an art form that arose from the Krishna cult and flourished in the north Indian
state of Uttar Pradesh. Sanjhi is derived from the Hindi word sandhya, which refers to the
period of dusk with which the art form is traditionally associated.

It gained popularity in the 15th and 16th centuries thanks to Vaishnava temples. Sanjhi became
recognized as a highly refined art form practised by Brahmin priests. The art of Sanjhi painting
is currently practised by a small number of people and is only found in a few temples in India.
The Radharamana temple in Vrindavan is one of these temples where Sanjhi paintings can still
be found.

According to legend, Radha, Krishna's beloved, used to paint her walls with Sanjhi art to attract
the attention of her beloved. She painted her freshly plastered cow dung walls with coloured
stones, metal foils, and flowers. Seeing her, other Gopis in Vrindavan began painting walls
with Sanjhi art to attract attention.

Image 19: Sanjhi Art in Braj Vrindavan Image 20: Sanjhi on wall

28
To create a Sanjhi design, stencils are cut out of paper (usually by hand) with specially designed
scissors. These stencils are used to draw rangolis on flat surfaces or in water. The surface is
then sifted with dry colours. Some of the most common motifs are peacocks, bullock carts,
horses, cows, butterflies, and trees.

Traditionally, stencils were made from rough paper or banana leaves, but modern artisans have
begun to create artwork out of handmade and recycled paper. Since then, Sanjhi has remained
popular, and during the Mughal period, contemporary themes were introduced for greater
perspective.

Sanjhi paper cuts have also found a market in a variety of forms. Bindis, textile patterns, and
henna designs are all created using stencils. Home décor and utilitarian objects such as trays,
coasters, lampshades, mirrors, wall hangings, and window partitions also make extensive use
of stencils.

Image 21: Sanjhi Papercutting Art Image 22: Sanjhi Art on floor

However, an attempt to revive the Sanjhi art has transformed it from a ritualistic temple artform
to an artform used to make home utilities such as lamps, curtains, and shades. In fact,
pictograms of the art form were used in the Commonwealth Games in 2010. Sanjhi art is rarely
known in its original form in modern times.33

Image 23: Pictogram

33
https://www.rachnakar.com/sanjhi-art-painting-with-scissors/
29
 Gond Paintings

Image 24: Gond Painting

Gond painting is a folk art that is typically done on the walls of the homes of people from the
Gond tribe, India’s largest Adivasi tribe, which is primarily found in Madhya Pradesh but can
also be found in pockets of Andhra Pradesh, Maharashtra, Chhattisgarh, and Odisha. The Gond
people have been around for nearly 1400 years. It was originally carved on cave walls.

The term "Gond" is derived from the Dravidian expression "Kond," which means "green
mountain." The Gond called themselves Koi or Koiture, but others called them Gond since they
lived in the green mountains. It originated from the tribe's belief that "seeing a good image
brings good luck." The Gond tribe believes that everything around them is sacred, and they
depict it in their paintings, including trees, hills, rivers, birds, and animals. Gond paintings are
inspired by Indian myths and legends, but they may also depict images from the tribe's daily
lives.

Image 25: Gond Cave Painting

30
The Gonds narrate stories about their dogmas, gods, festivals, demons, and everything related
to their way of life through paintings. Trees play an important role in Gond art. Trees are the
most important for humans and animals because they protect them from the sun in the summer
and from the rain in the winter. Trees provide both nourishment and food.

These paintings are intricate works of wavy lines drawn rhythmically and repeatedly. The wall
paintings are made from natural materials found near their homes. The walls are first layered
with pidor, a special soil, and various natural materials are used to render various colours. Coal,
for example, for black, Chui soil for yellow, red soil or geru for red, tinsak plant sap for dark
red, ramraj soil from around the Narmada river for yellow, sem leaves for dark green, and cow
dung for light green, among other things.

The fibre of beaten bark is formed into a brush known as ‘koochi’, which is the basic tool for
painting the walls of homes. The artist begins by plastering the area to be painted with a paste
of soil, cow dung, and straw. After it has dried, the area is coated with pidor, which creates a
smooth, white background suitable for use as a canvas.

Gond artists are known for their attention to detail, such as drawing inner and outer lines to
achieve a high level of perfection and creatively using fish scales, dashes, and dots to give the
painting a sense of motion.

The Pardhan Gonds are extremely skilled artists who are renowned for their paintings and
music. The decline of agricultural life and social patronage has tended to reduce the Pradhans
to a state of manual labour over time. Jangarh Singh Shyam, a Pradhan Gond, was the first
tribal artist to work with canvas and paper. In 1981, he hosted a very successful first exhibition
in Bharat Bhavan, and his meteoric rise to fame was highlighted by subsequent exhibitions in
Paris and Tokyo.

The modern Gond painting is done on canvas with acrylic paints because they are easy to
transport and hang on walls.

Image 26: Gond Painting Image 27: Gond Painitng

31
 Warli Paintings

Image 28: Warli Painting

Warli paintings are prevalent in Maharashtra's remote tribal areas, particularly in the North
Sahyadri range - Dahanu, Talasari, Jawhar, Palghar, Mokhada, and Vikramgadh of Palghar
district. It is one of the oldest styles of Indian folk art, having survived for thousands of years.
The term ‘Warli’ is from ‘warla’, which means a piece of land. The Warli culture is centred
on the concept of Mother Nature, and natural elements are frequently depicted as focal points
in Warli paintings.

Although the origins of this art are unknown and no records have been found, many scholars
and folklorists believe that it can be traced back to as early as the 10th century A.D. The Warli
tribe was traditionally a semi-nomadic tribe that subsisted through hunting. Over the last
few decades, the tribe has evolved to rely on a variety of agricultural activities for a living.
It depicts their cultural and social lives.

Warli paintings are narrative works that require performance gestures and movement, with
little room for facial expression. These paintings are displayed in the houses during the harvest
season, weddings, and births.

These paintings are traditionally created with white paste on mud walls, and Salati grass or
bamboo stick is used as a brush. They are composed of squares, triangles, and circles inspired
by their observations of nature. Even though Warli is prevalent in areas close to Mumbai, the
art remains unaffected by modern culture.

The circle depicts the sun and moon, while the triangle depicts mountains and pointed trees.
Two intersecting triangles represent the human body: the top triangle represents the torso, and
the bottom one represents the pelvis. Their precarious equilibrium symbolises the balance of
the universe. The square, on the other hand, appears to be a human invention, indicating a plot
32
of land or a sacred enclosure also known as Chauk. As a result, the chauk, ideally of Devchauk
and Lagnachauk, is the central motif in each painting.

Since Warlis’ life is so closely linked to nature, they worship it in various forms—the sun and
moon, gods of thunder, lightning, wind, rain, and so on. The seasons are used to worship gods.
They worship the god of rain after the first rice cycle, which is known as the J Varanadeva
festival. This is followed by the worship of household gods during the Hirva, JVimai, and
Jhoting festivals. The festival of the Tiger God comes next, followed by Kansan, the goddess
of grain.

The Tarpa dance is a central component in many Warli paintings. The Tarpa is a trumpet-like
instrument that is played by men in turns. The dancers form a circle around the tarpa player,
their hands intertwined. Warlis believe life is a circle that does not have a beginning or end.
Death is not an end for them but a new beginning.

There are two types of Warli paintings – ritualistic and non-ritualistic.

• The ritualistic paintings are the ones which connect the past, present and future. For
example, Lagna Chowk, Dev Chowk, Kanna, etc are the ritualistic form of warli.
• The non-ritualistic paintings are done for decorative purposes, for example - hunting
scenes, agricultural activities, and festival scenes.

Marriage Ceremony

A Suvasini (married woman) paints the marriage chowk

or a square on the wall in this painting. The warli
marriage lasts four to five days and is accompanied by a
number of rituals. These chowks are painted to protect
the bride and groom from evil spirits, to ensure fertility,
and to enhance the couple's procreative abilities.
Marriage chowks are classified into two types: Lagna
chowk and Dev Chowk.
Image 29: Warli Painting on wall

Lagna Chauk

It is a rectangle with the figure of Palaghat Devi, the

fertility goddess. She is prayed to bestow good fortune
on the bride and groom. The border is made up of various
geometrical patterns. Variations of the Palaghat Devi are
done on various parts of the painting. It is also done in
the bride and groom's homes.

Image 30: Lagna Chauk

33
 Dev Chauk

It is usually depicted alongside the Lagan Chowk, a five-

headed god, and a headless warrior. It can be drawn
standing or riding a horse. It is done to ward off illness,
misfortune, and bad luck for the bride and groom.

Image 31: Dev Chauk

Tarpa Dance

This is a popular Warli folk dance that is performed at

night by both men and women. The tarpa is an
instrument, and the person who plays it is in the centre.
The dancers in the typical painting will form almost a
circle of people and will move in an anti-clockwise
direction.

Image 32: Tarpa

Kanna

Kanna is the only Warli image that the Suvasinis have

drawn on the ground (married women). It is thought to
be a symbol of virginity, and it is drawn at the bride's
house on the third day of the wedding. It is drawn around
the pounding hole in their houses, which is otherwise
used to separate seeds from husks. Kanna is created
using a variety of colours, including white rice powder,
yellow turmeric, red Kumkum, and orange sindoor.
Image 33: Kanna

Muthi

When new rice is brought home from the fields, muthi,

or the fist, is imprinted on the walls of huts. This can be
seen on almost all of the tribe's huts. These imprints can
also be found on graniers, kitchen interior walls,
ploughs, and grain storage baskets. The repeated imprint
represents an abundance of food.

Image 34: Muthi

34
The Warli art form was unknown until the 1970s. Bhaskar Kulkarni encouraged Warli artists
to paint on paper rather than the mud walls of their huts. Jivya Soma Mashe broke the monotony
of Warli being a married women-wall art tradition. He experimented with non-traditional
painting techniques and created new images of everyday life.

The art has gained huge popularity at both international and national platforms because of its
simplicity in shapes, use of single white colour, the minimum requirement of tools and creation
of beautiful motifs.

Warli painting got its GI tag in 2014. With the help of a tribal non-governmental organization
named Adivasi Yuva Seva Sangh, Warli was registered with a geographical indication as per
the Intellectual Property Rights Act.

Need for Documentation

These folk arts are dying out as they are not being passed on to the next generation. Due to the
onslaught of technification, globalization, displacement and migration, these traditions,
lifestyles and communities are disappearing. In light of this, it became critical to establish a
framework for preserving and promoting our inherited values and rich cultural legacy.

Despite the government's varied efforts, there are not enough experienced and trained
personnel to administer India's cultural institutions, cultural industries, and cultural
management. Aside from that, the Indian youth today are oblivious to their country's rich and
diverse cultural legacy. The need for openness and understanding among people, as well as a
healthy reaction to and respect for other traditions, has become paramount.

Initiatives by the Ministry of Culture

To protect, preserve & promote various forms of folk art and culture throughout the country,
the Government of India has set up seven Zonal Cultural Centres (ZCCs) throughout the
country with headquarters at Patiala, Nagpur, Udaipur, Prayagraj, Kolkata, Dimapur and
Thanjavur, with the prime objective of protecting, promoting and preserving various art forms
and cultures throughout the country.

Seven ZCCs are:

• Eastern Zonal Cultural Centre, Kolkata
• North Central Zone Cultural Centre, Allahabad
• Northeast Zone Cultural Centre, Dimapur
• North Zone Cultural Centre, Patiala
• South Central Zone Cultural Centre, Nagpur
• South Zone Cultural Centre, Thanjavur
• West Zone Cultural Centre, Udaipur

35
These ZCCs organize various cultural activities & programmes on regular basis all over the
country. The ZCCs also work towards the promotion of art forms by improving opportunities
for the artists to perform and also by documenting their art forms. The special feature of the
ZCCs is the emphasis on people’s participation which is ensured through the adequate
representation of exponents of various art forms, promotion of rural art forms, stress on folk
art and tribal art and the organization of traditional village fairs and festivals.

Since November 2015, twelve Rashtriya Sanskriti Mahotsav (RSM) have been organized by
the Ministry of Culture across the country. These ZCCs also organize a minimum of 42
Regional Festivals for the promotion of art and culture every year as per their programme
calendar. Several art forms, including vanishing visual and performing art forms including folk,
tribal and classical in the field of music, dance, theatre, literature, fine arts etc. are being
documented by these ZCCs for proper storage of the treasure of knowledge for posterity.
Several art forms have been documented in digital format (both audio and video formats). The
art form is finalized in consultation with the state Cultural Department.

Further, for the preservation and promotion of various folk arts & culture of the country the
following schemes are implemented by these ZCCs, namely, the National Cultural Exchange
Programme; Guru Shishya Parampara Scheme; Young Talented Artistes Scheme;
Documentation of Vanishing Art Forms; Theatre Rejuvenation Scheme; Shilpagram Activities
and Loktarang – National Folk Dance Festival and OCTAVE – to promote the rich cultural
heritage of North East region.

Under the Global Engagement Scheme, Festivals of India are organised in other countries to
showcase folk art and other cultural events such as exhibitions, dance, music, theatre, food fest,
literary fest, film fest, yoga, and so on.

The Ministry of Culture also administers various financial grant schemes like the Scheme of
Financial Assistance for Promotion of Art and Culture, Scheme of Financial Assistance for
Creation of Cultural Infrastructure, Museum Grant Scheme etc. to preserve, and promote Indian
art, literature and culture in the country under which grants are given as financial assistance to
the organizations and individuals.

No separate allocation of funds is being done art-wise. However, an annual grant-in-aid is

provided to all the ZCCs for organizing various cultural activities/ programmes in their member
States.

National List for Intangible Cultural Heritage (ICH)

The National List of Intangible Cultural Heritage (ICH) of India is an attempt to recognize the
diversity of Indian culture embedded in its intangible heritage. It aims to raise awareness about
the various intangible cultural heritage elements from different states of India at national and
international levels and ensure their protection.

36
Following UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural
Heritage, this list has been classified into five broad domains in which intangible cultural
heritage is manifested:
• Oral traditions and expressions, including language as a vehicle of the intangible
cultural heritage
• Performing arts
• Social practices, rituals and festive events
• Knowledge and practices concerning nature and the universe
• Traditional craftsmanship

The present items in the list have been collated from the projects sanctioned under the scheme
for ‘Safeguarding the Intangible Cultural Heritage and Diverse Cultural Traditions of India’
formulated by the Ministry of Culture. Beginning in 2013, the scheme aims at reinforcing the
diverse cultural expressions that are necessary for the continuous evolution and interpretation
of intangible cultural heritage in India, as well as their transmission to future generations. It
also includes the 13 elements of India that have already been inscribed on the UNESCO
Representative List of the Intangible Cultural Heritage of Humanity. The national list is a work
in progress.

IGNCA

The Indira Gandhi National Centre for the Arts (IGNCA) in New Delhi, India, established in
1987, was designed as an autonomous centre providing for the study and experience of all the
arts. Kala Nidhi, a national information system and databank, consists of a reference library of
print collections, a large microfilm/microfiche library, a collection of slides, and photographs
and audio-video materials covering many disciplines related to Greater India, South Asia,
Southeast Asia, and West Asia. Cultural archives consisting of rare collections, a conservation
laboratory, and a multimedia unit also form part of the organization.

Janapada Sampada Archives of IGNCA have the following folk painting on Kalamkari, Gond,
Madhubani, Mithila, Warli, Hakusalli, Mahabharata, Pattachittra. IGNCA has a conservation
lab which is safeguarding folk paintings in its collection.

37
 Chapter 4
Conclusion

India is home to some of the world's most beautiful cultural symbols. The people of India are
diverse, with a rich cultural heritage. Traditional literature, traditional arts and crafts, music,
visual arts, ceremonies, traditional beliefs, traditional architecture associated with specific
sites, as well as forms of traditional knowledge related to traditional medicines and traditional
medical practises, agriculture, forest management, conservation, and sustainable use of
biological diversity, are examples. As a result, traditional knowledge and cultural
expressions are a body of knowledge vital to the day-to-day life of local communities derived
from generations of living in close contact with nature.

Traditions and oral folklore have been used to pass down Indian culture from generation to
generation. Indian folk arts are a reflection of Indian culture. It is a form of art created by the
people of India for the people of India. Indian traditional art is a manifestation of this country's
cultural heritage; gradual isolation from the larger population and craft workers will have an
impact on the country's cultural sustainability.

It is difficult to determine a specific date for the emergence of folk and tribal paintings in India.
Instead, one should discuss continuities, evolutions, and contemporaneity. Initially, many
traditional painters were associated with social ceremonies, painting on the facades of village
houses or scrolls as part of a traditional ceremony gesture. Folk art patterns, motifs, techniques,
and materials have special meaning and can reveal a lot about the culture or society to which
it has belonged. Each piece of art tells a story from the past or the present.

The issue is that these Indian folk arts are dying out as people are not taking them seriously
and do not pass them on to the next generation. This is because there are few incentives to keep
these Indian folk arts alive. There are also few opportunities for these artists to create their
works without competition from dealers and showrooms that sell ready-made products at lower
prices.

There are no authoritative definitions or data on the creative economy's size or shape. Social
and economic policies are implemented with little regard for the creative economy and those
who rely on it. Without timely care and caution, they are at risk of extinction, along with the
small number of people and communities who still practise the art.

With technological advancement and changes in social behaviour, India's cultural heritage is
becoming isolated from the larger population's day-to-day social activities. Exotic and
indigenous Indian folk art forms are usually not shared or promoted on a global scale. The
sensible use of technology has the potential to revitalise our cultural heritage by connecting

38
rural India's craft workers with the larger population, who will hopefully become interested in
these Indian folk art forms.

Given that current intellectual property rights (IPR) are an ineffective legal framework for
protecting traditional knowledge and traditional cultural expressions, there are no mechanisms
in place to protect, access, and share benefits derived from traditional knowledge and
traditional cultural expressions.

A national platform should be established to document folk paintings in collaboration with

practising communities, with a well-organized system for research and publication. Also, there
is a need to ensure that communities have effective control over the documentation and
database of traditional knowledge based on their expertise, practices, and skills.

In the long run, the young population is most effective at carrying on cultural heritage. As a
result, increased collaboration and partnership in the generation, access to, and utilisation of
culture and tradition are required.

Art and rural tourism are still not well known among Indian tourists. A very small number of
Indian travellers are willing to travel to remote locations, unassuming towns and villages no
one has ever heard of, where they get down to the grassroots level, interact with the
communities, and discover a world of culture and tradition passed down through generations.

The future of Indian Folk Arts is dependent on the support it gets from the government and the
general public. Paintings are not about the end result but the stories, efforts, time and skills that
go into it. These traditional paintings are windows to our ancient culture and an ideal tool to
know about the past and the world around us. The more people appreciate these Indian folk
arts, the more artists will strive to create pieces that will be remembered for many generations
to come.

39
Works Cited

WTO. (2006). The protection of Traditional Knowledge and folklore.

WIPO. (n.d.). Intellectual Property and Traditional Knowledge.
WIPO. (2020). Intellectual Property and Genetic Resources, Traditional Knowledge and
Traditional Cultural Expressions.
UNCTAD. (n.d.). Protection of Traditional Knowledge, Ch-5.
Cross, J. T. (2010). Property rights and tradtional knowledge. Potchefstroom Electronic Law
Journal .
Magga, O. H. (2005). Indegenous Knowledge Systems - The True Roots of Humanism.
World Library and Information Congress: 71th IFLA General Conference and
Council.
Gupta, A., & Gyan, J. (2018). Living traditions tribals and folk paiintings of India. Govt. of
India.

40
Annexure 1: List of Folk art

S no. Folk Art Region

1. Aipan Art Uttrakhand

2. Assamese Miniature Painting Assam
3. Bhil Painting Madhya Pradesh
4. Bhojpuri Painting Uttar Pradesh
5. Cheriyal Scroll Painting Telangana
6. Chittara Art Karnataka
7. Chitrakathi Painting Maharashtra
8. Dokra Art West Bengal
9. Kolam Floor Painting Tamil Nadu
10. Godna Painting Chhattisgarh
11. Gond Painting Madhya Pradesh
12. Jadopatia Painting Jharkhand
13. Kalamezhuthu Art Kerala
Andhra Pradesh
14. Kalamkari Painting
Telangana
15. Kalighat Painting West Bengal
16. Kangra Painting Himachal Pradesh
17. Kavad Painting Rajasthan
18. Kerala Mural Painting Kerala
19. Krishangarh Painting (Bani Thani) Rajasthan
20. Kondapalli Bommallu Andhra Pradesh
21. Kurumba Painting Tamil Nadu
22. Kutch Lippan Art Gujarat
23. Leather Puppet Art Andhra Pradesh
24. Mandala Art
25. Mandana Art Rajasthan
26. Madhubani Painting Bihar

41
 27. Mata Ni Pachedi Gujarat
28. Masan Painting West Bengal
29. Meenakari Painting Rajasthan
30. Mysore Ganjifa Art Karnataka
31. Mysore Painting Karnataka
32. Mughal Paintings
33. Nirmal Painting Telangana
Odisha
34. Pattachitra Painting
West Bengal
35. Patua Painting West Bengal
36. Pipli Art Odisha
37. Pichwai Painting Rajasthan
38. Pithora Painting Madhya Pradesh
39. Rajasthani Miniature Painting Rajasthan
40. Rajasthani Phad Painting Rajasthan
41. Rogan Art from Kutch Gujarat
42. Reverse Glass Tanjore Painting Tamil Nadu
43. Saura Painting Odisha
44. Sanjhi Art Uttar Pradesh
45. Sohrai Art Jharkhand
46. Surpur Folk Art Mysore
47. Tikuli Art Bihar
48. Tassar Silk Painting Odisha
49. Tanjore Painting Tamil Nadu
Himachal Pradesh
50. Thangka Painting
Sikkim
51. Santhal Painting West Bengal
Maharashtra, Gujarat, Dadara & Nagar
52. Warli Folk Painting
Haveli, Daman Diu
Source: indianfolkart.org

42
Annexure 2: Image Source

Image No. Image Name Retrieved from

1 Bregenzerwälde https://www.google.com/url?sa=i&url=https%3A%2F%2F
r Bergkäse www.molkeprodukte.com%2Fprodukt%2Fbregenzerwaeld
er-bergkaese-wuerzig-ca-500-g-
2%2F&psig=AOvVaw2UBdV9gYlQKYFll4Ev6Gcg&ust
=1668596124482000&source=images&cd=vfe&ved=0CB
EQjhxqFwoTCMiF44yDsPsCFQAAAAAdAAAAABAD

2 Taanka Water https://www.google.com/url?sa=i&url=https%3A%2F%2F

Harvesting en.wikipedia.org%2Fwiki%2FTaanka&psig=AOvVaw2D
WYA_4rQIpi6kwxkpuUps&ust=1668595971516000&sou
rce=images&cd=vfe&ved=0CBEQjhxqFwoTCOC4uPiCs
PsCFQAAAAAdAAAAABAD

3 Yoga https://www.google.com/url?sa=i&url=https%3A%2F%2F
freedesignfile.com%2F424472-yoga-silhouette-with-
sunset-background-vector-07%2F&psig=AOvVaw3r9g8--
eVZNknvojpRGAvj&ust=1668583824885000&source=im
ages&cd=vfe&ved=0CBEQjhxqFwoTCKiy-
aXVr_sCFQAAAAAdAAAAABA6

4 Shantipuri Saree https://www.google.com/url?sa=i&url=https%3A%2F%2F

vikaspedia.in%2Fsocial-
welfare%2Fentrepreneurship%2Findian-
handloom%2Fshantipuri-cotton-
saree&psig=AOvVaw3pRcAPL1YZdfdMQJ0yBLf-
&ust=1668681276711000&source=images&cd=vfe&ved=
0CBEQjhxqFwoTCOi_nKjAsvsCFQAAAAAdAAAAAB
AE

5 Walnut wood https://www.google.com/url?sa=i&url=https%3A%2F%2F

carvings cultureandheritage.org%2F2022%2F05%2Fwalnut-wood-
carving-of-kashmir-in-north-
india.html&psig=AOvVaw033ZqcQ-
2NxtzJl05WiMrk&ust=1668681619803000&source=imag
es&cd=vfe&ved=0CBEQjhxqFwoTCODroNLBsvsCFQA
AAAAdAAAAABAD

6 Etikoppaka https://www.google.com/url?sa=i&url=https%3A%2F%2Fptop.only.wip.la%3A443%2Fhttp%2Fa
Toys ndhraportal.org%2Fcrafts-
7etikoppaka%2F&psig=AOvVaw2j55YJZ6Q-

43
 MUuM7ZyRVgbc&ust=1668682103357000&source=ima
ges&cd=vfe&ved=0CBEQjhxqFwoTCNjD-
JDEsvsCFQAAAAAdAAAAABAD

7 Kulla Shawl https://www.google.com/url?sa=i&url=https%3A%2F%2F

www.dsource.in%2Fresource%2Fkullu-and-kinnauri-
shawls%2Fintroduction&psig=AOvVaw0KmeepkgC6TsY
IgsBEvLB7&ust=1668682292119000&source=images&c
d=vfe&ved=0CBEQjhxqFwoTCIDCvKzEsvsCFQAAAA
AdAAAAABAL

8 Madhubani Painted by Akanksha Saini

9 Godna https://www.google.com/url?sa=i&url=https%3A%2F%2F
Madhubani dalitfoundation.net%2Fgodna-
Painting paintings%2F&psig=AOvVaw08G7sBK8ezT-
OFjjcdX3wQ&ust=1668596236327000&source=images&
cd=vfe&ved=0CBEQjhxqFwoTCJDlw8GDsPsCFQAAA
AAdAAAAABAF

10 Bharani https://www.google.com/url?sa=i&url=https%3A%2F%2F
Madhubani www.dsource.in%2Fgallery%2Fmadhubani-paintings-
Painting by bihar&psig=AOvVaw3YmizZ0jdumH8dW2QV45dg&ust
Vibha Das of =1668596280227000&source=images&cd=vfe&ved=0CB
Ranti (Bihar) EQjhxqFwoTCIjLytmDsPsCFQAAAAAdAAAAABAJ

11 Kachni https://www.google.com/url?sa=i&url=https%3A%2F%2F
Madhubani www.pinterest.com%2Fdasdebalina84%2Fmadhubani%2F
Painting &psig=AOvVaw0HU13Ggn3bcVsDxans9aOm&ust=1668
596327047000&source=images&cd=vfe&ved=0CBEQjhx
qFwoTCODY4_GDsPsCFQAAAAAdAAAAABAN

12 Tantrik https://www.google.com/url?sa=i&url=https%3A%2F%2F
Madhubani www.popbaani.com%2Fpost%2Fthe-mystique-of-tantrik-
Painting paintings&psig=AOvVaw01fwy7CF_s-OVTfqvKs-
x_&ust=1668596378783000&source=images&cd=vfe&ve
d=0CBEQjhxqFwoTCICexYWEsPsCFQAAAAAdAAAA
ABAE

13 Kohbar https://www.google.com/url?sa=i&url=https%3A%2F%2F
Madhubani sarmaya.in%2Fobjects%2Findigenous-tribal-
Painitng art%2Fkhobar%2F&psig=AOvVaw1EuWcKrAUjU4SLA
hU6jiaI&ust=1668596581513000&source=images&cd=vf
e&ved=0CBEQjhxqFwoTCMDlmeaEsPsCFQAAAAAdA
AAAABAT
44
14 Kalamkari Painted by Akanksha Saini

15 Srikalahasti https://www.google.com/url?sa=i&url=https%3A%2F%2F
Kalamkari www.joshuahs.in%2Fblogs%2Fnews%2Feverything-you-
need-to-know-about-kalamkari-
prints&psig=AOvVaw0NRXUpoAwsGsXijPqnBJq2&ust
=1667905147399000&source=images&cd=vfe&ved=0CA
4QjhxqFwoTCLCV2oD1m_sCFQAAAAAdAAAAABAE

16 Machilipatnam https://www.google.com/url?sa=i&url=https%3A%2F%2F
Kalamkari tklvch.wordpress.com%2Ftag%2Fmasulipatnam-
kalamkari%2F&psig=AOvVaw3P-
LBbLs_2hUTQXq24mTwm&ust=1667905340816000&so
urce=images&cd=vfe&ved=0CA4QjhxqFwoTCLDh-
tz1m_sCFQAAAAAdAAAAABAE

17 Mata Ni Pachedi https://www.dsource.in/resource/mata-ni-pachedi-

ahmedabad/products

18 Sanjhi Art Painted by Akanksha Saini

19 Sanjhi art at https://www.google.com/url?sa=i&url=https%3A%2F%2F

Braj Vrindavan www.inditales.com%2Fsanjhi-art-braj-
vrindavan%2F&psig=AOvVaw1hGVH9YvFWqZ3DgM9
Q0p9i&ust=1667905724860000&source=images&cd=vfe
&ved=0CA4QjhxqFwoTCPiczJf3m_sCFQAAAAAdAAA
AABAD

20 Sanjhi art on the https://www.google.com/url?sa=i&url=https%3A%2F%2F

wall risdmuseum.org%2Fart-design%2Fcollection%2Fharyana-
women-making-sanjhi-craft-village-new-delhi-
2018212&psig=AOvVaw3yMhyuSV7Oex4gtKB3bcVD&
ust=1667905779149000&source=images&cd=vfe&ved=0
CA4QjhxqFwoTCNiHzrH3m_sCFQAAAAAdAAAAAB
AE

21 Sanjhi https://www.google.com/url?sa=i&url=https%3A%2F%2F
Papercutting Art cultureandheritage.org%2F2022%2F09%2Fsanjhi-art-of-
mathura-in-uttar-pradesh-the-art-of-hand-cut-paper-
designs.html&psig=AOvVaw3TsrZcZGA41_fayztpTfRi&
ust=1669111843527000&source=images&cd=vfe&ved=0

45
 CBEQjhxqFwoTCNC4wLOEv_sCFQAAAAAdAAAAA
BAn

22 Sanjhi Art on https://www.google.com/url?sa=i&url=https%3A%2F%2F

the floor magikindia.com%2Fsanjhi-stencil-
art%2F&psig=AOvVaw3TsrZcZGA41_fayztpTfRi&ust=1
669111843527000&source=images&cd=vfe&ved=0CBE
QjhxqFwoTCNC4wLOEv_sCFQAAAAAdAAAAABAz

23 Pictogram https://www.rachnakar.com/sanjhi-art-painting-with-
scissors/

24 Gond Art Painted by Akanksha Saini

25 Gond paintings https://www.google.com/url?sa=i&url=https%3A%2F%2F

on the cave wall jayahegvknewmuseumstore.wordpress.com%2F2019%2F
09%2F01%2Fgond-unpacking-
greatness%2F&psig=AOvVaw2_2tbWPq5nFALpHBkMq
Str&ust=1668073334821000&source=images&cd=vfe&v
ed=0CA4QjhxqFwoTCJDB3cfnoPsCFQAAAAAdAAAA
ABAD

26 Gond painting https://www.caleidoscope.in/art-culture/gond-art-madhya-

pradesh

27 Gond painting https://www.google.com/url?sa=i&url=https%3A%2F%2F

blog.mojarto.com%2Fblogs%2Fgond-art-the-deccan-
lifeline&psig=AOvVaw2uUjr-
QEHq75JQb5BM6BtE&ust=1668058956299000&source
=images&cd=vfe&ved=0CA4QjhxqFwoTCLjc3_6xoPsCF
QAAAAAdAAAAABAj

28 Warli Art Painted by Akanksha Saini

29 Warli Painting https://www.google.com/url?sa=i&url=https%3A%2F%2F

on the wall en.gaonconnection.com%2Fwarli-on-the-wall-the-warli-
tribe-in-maharashtras-ganjad-draws-from-life-to-create-
unique-
art%2F&psig=AOvVaw07FJjGZTo31OeSAVgIRhnj&ust
=1669128981545000&source=images&cd=vfe&ved=0CB
EQjhxqFwoTCODXvZLEv_sCFQAAAAAdAAAAABA
K

46
30 Lagna chauk https://www.google.com/url?sa=i&url=https%3A%2F%2F
painting iteeha.com%2Fevents%2Fwarli-lagna-
chawk%2F&psig=AOvVaw3iGjZr8vGSt6mvRtByMqdd&
ust=1668242742148000&source=images&cd=vfe&ved=0
CBEQjhxqFwoTCJi-kdPepfsCFQAAAAAdAAAAABAH

31 Dev chauk https://www.google.com/url?sa=i&url=https%3A%2F%2F

painting www.memeraki.com%2Fblogs%2Fnews%2Fwarli-
paintings-different-types-
styles&psig=AOvVaw0Rfp_1ioMA02t0QXxSW1GE&ust
=1668242681217000&source=images&cd=vfe&ved=0CB
EQjhxqFwoTCNDM3LvepfsCFQAAAAAdAAAAABAD

32 Tarpa painting https://www.google.com/url?sa=i&url=https%3A%2F%2F

swayamkatha.wordpress.com%2F2019%2F02%2F07%2F
abstract-art%2Fwarli-painting-folk-
dance%2F&psig=AOvVaw2VpGhBRjk14gydiQv2feRU&
ust=1668242805397000&source=images&cd=vfe&ved=0
CBEQjhxqFwoTCIi0u_XepfsCFQAAAAAdAAAAABA
N

33 Kanna painting https://www.google.com/url?sa=i&url=https%3A%2F%2F

www.memeraki.com%2Fblogs%2Fnews%2Fwarli-
paintings-different-types-
styles&psig=AOvVaw1wOHR8_HI5_dj26LYB-
Oe_&ust=1668243498088000&source=images&cd=vfe&
ved=0CBEQjhxqFwoTCJC5ibvhpfsCFQAAAAAdAAAA
ABAD

34 Muthi painting https://www.google.com/url?sa=i&url=https%3A%2F%2F

maverickyogicom.wordpress.com%2Ftag%2Fwarli-
painting%2F&psig=AOvVaw0nzqwqtm0IOvD8BFSEBTe
8&ust=1668243281408000&source=images&cd=vfe&ved
=0CBEQjhxqFwoTCNjLudPgpfsCFQAAAAAdAAAAA
BAJ

47